[Q]: Given the below context:  The Gengshi Emperor (r. 23–25 AD), a descendant of Emperor Jing (r. 157–141 BC), attempted to restore the Han dynasty and occupied Chang'an as his capital. However, he was overwhelmed by the Red Eyebrow rebels who deposed, assassinated, and replaced him with the puppet monarch Liu Penzi. Gengshi's distant cousin Liu Xiu, known posthumously as Emperor Guangwu (r. 25–57 AD), after distinguishing himself at the Battle of Kunyang in 23 AD, was urged to succeed Gengshi as emperor.Under Guangwu's rule the Han Empire was restored. Guangwu made Luoyang his capital in 25 AD, and by 27 AD his officers Deng Yu and Feng Yi had forced the Red Eyebrows to surrender and executed their leaders for treason. From 26 until 36 AD, Emperor Guangwu had to wage war against other regional warlords who claimed the title of emperor; when these warlords were defeated, China reunified under the Han.The period between the foundation of the Han dynasty and Wang Mang's reign is known as the Western Han (traditional Chinese: 西漢; simplified Chinese: 西汉; pinyin: Xīhàn) or Former Han (traditional Chinese: 前漢; simplified Chinese: 前汉; pinyin: Qiánhàn) (206 BC–9 AD). During this period the capital was at Chang'an (modern Xi'an). From the reign of Guangwu the capital was moved eastward to Luoyang. The era from his reign until the fall of Han is known as the Eastern Han or Later Han (25–220 AD).  Guess a valid title for it!
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[A]: Han dynasty 4


[Q]: Given the below context:  Farsari and other 19th-century commercial photographers generally concentrated on two types of subject matter: the scenery of Japan and the "manners and customs" of its inhabitants. Such subjects, and the ways in which they were literally and figuratively framed, were chosen to appeal to foreign taste; and the reason for this, apart from the photographer's individual aesthetics, vision and preconceptions, had much to do with economics. Photographs were expensive to make and accordingly expensive to buy. In 1870s Japan, a portrait photograph usually cost half a ryō "per head", about a month's pay for an artisan. Given such pricing, few Japanese could afford photographs and a photographer's clientele was largely drawn from the foreign residents of the European and American enclaves: colonial administrators, missionaries, merchants and the military. By the early 1870s, tourists had joined their number. To appeal to this clientele, photographers often staged and contrived the scenes they photographed, particularly the portraits depicting "manners and customs".In 1885, Charles J. S. Makin used some of Farsari's views to illustrate his travel account Land of the Rising Sun, Being a Short Account of Japan and the Japanese. As photomechanical printing was still in its infancy, it was common for artists and illustrators to create works derived from photographs. For example, Charles Wirgman's numerous engravings for the Illustrated London News were made from views by Wirgman's friend and sometime partner Felice Beato. Occasionally the link between a work of art and its photographic source material was less overt: Louis-Jules Dumoulin's 1888 oil painting Boys' Festival from the Bluff, Yokohama [sic] (now called Carp Banners in Kyoto) draws heavily from Farsari's photograph Gionmachi, Kioto (now often called View of Shijō-dōri, Kyoto); although the painted image strongly resembles the photographic source, the location of the subject has been changed in the title. During the era of the collodion process, before the...  Guess a valid title for it!
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[A]: Adolfo Farsari 2


[Q]: Given the below context:  Hundreds of songs and performers have entered Melodifestivalen since its debut. Although songwriters living outside Sweden were once not allowed to enter Melodifestivalen, the 2012 contest marked the first time foreign songwriters could submit entries, provided that they collaborated with a Swedish songwriter. To be eligible, songwriters and performers must be at least sixteen years of age on the day of the first Eurovision semi-final.Until 2001, participation in the festival was limited to a single night. The number of contestants ranged from five to twelve. A two-round system was used intermittently between 1981 and 1998, in which all but five of the contestants were eliminated in a first round of voting. Failure to reach the second round under this system was seen as a major failure for a prominent artist; when Elisabeth Andreassen failed to qualify in 1984, it almost ended her career. The introduction of weekly semi-finals in 2002 increased the number of contestants to thirty-two. At least ten of the contestants must perform in Swedish. A CD of each year's competing songs has been released since 2001, and a DVD of the semi-finals and final since 2003. Melodifestivalen has been the launch-pad for the success of popular local acts, such as Anne-Lie Rydé, Tommy Körberg, and Lisa Nilsson. The competition has played host to performers from outside Sweden, including Baccara, Alannah Myles, Katrina Leskanich, and Cornelis Vreeswijk. Melodifestivalen participants have also represented—and unsuccessfully tried to represent—other countries at Eurovision. While local success for Melodifestivalen winners is common, most contestants return to obscurity and few have major international success. The impact that the competition makes on the Swedish charts means an artist need not win the competition to earn significant domestic record sales. For example, the song which finished last at Melodifestivalen 1990, "Symfonin" by Loa Falkman, topped the Swedish singles chart. The most recent occurrence was 2016 with Samir &...  Guess a valid title for it!
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[A]: Melodifestivalen


[Q]: Given the below context:  Administration of Nuffield's donation was the responsibility of the University, as the college did not become an independent body until after the Second World War. A sub-committee, consisting of three heads of Oxford colleges (Sir William Beveridge from University College; Alfred Emden from St Edmund Hall; and Linda Grier from Lady Margaret Hall), was appointed to choose the architect; Emden appears to have played the major part in the group's work. Eight architects were initially asked to compete, including Louis de Soissons, Vincent Harris, Austen Harrison, Charles Holden, Edward Maufe, and Hubert Worthington. All but Holden and Maufe submitted photographs of their work, and the sub-committee then recommended Harrison, a decision confirmed after he was interviewed on 17 June 1938. At that time, Harrison had never worked in Britain: although he had qualified there, he had practised in Greece and Palestine.  Indeed, the college seems to have been his only project in the country, and remains his best known work, along with his later University of Ghana.  Harrison was not given any restrictions or limitations on style; Nuffield agreed to Harrison's appointment, but was not consulted on the architectural style of the college before Harrison started work. When Nuffield's donation was announced, it was reported that the "general idea" was that the college buildings should be sited behind gardens, similar to the memorial gardens at Christ Church, Oxford, so that those entering Oxford from the west would be faced with a "beautiful vista of well-planned gardens seen through railings"; this idea did not form part of Harrison's designs. After Harrison's preliminary studies, it became clear that the proposed site could not contain a college and an institute for social science research as planned; Nuffield agreed to provide an additional plot of land on the opposite side of Worcester Street. Harrison proposed to build the college on the main site, with the institute on the second site. The hall was to be at the east end...  Guess a valid title for it!
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[A]:
Buildings of Nuffield College, Oxford